Rafael as proof of the authenticity of the mystery object in Rekvika
John Bjarne Grover
See the theory discussed in this article: TEQ function 15 in this form is a new discovery of mine of 9 april 2023 and it was not possible to see how Rafael is a proof of the authenticity of the mystery object in Rekvika before this discovery had been made. The referred-to article could have included this additional article, but for reasons of space and exposition I have put these technical details in the separate file.
The present article discusses Rafael's artwork on the ecstasy of St.Cecilia (through this link you can download a 46 MB high-resolution reproduction of the artwork from 1514). The artwork shares important features with Correggio's 'Nativity' - discussed in some detail in the article - from the viewpoint of the hieroglyphic SNAKE.
The evidence for the authenticity of the mystery object (told in this newspiece) is in terms of a proof that the object (assumed to be an ex nihilo formation) receives its rationale through the function defined by these technical principles. The evidence goes as follows:
The hypothesis is that the hieroglyph SNAKE consists in a curl at its head followed by the rest of its body and when this is read also mirrored the two snakes will combine to an approximation to an FFT butterfly cross but not exactly - see the article (at 'Father-in-Heaven') for an example. It could be the difference which constitute the disturbing feeling of some hidden problem in christendom. The length of the SNAKE line is divided into 16 probably equal segments and these are correlated with the relevant phonological element from TEQ (as listed in this series). Technically the question is how long the SNAKE should be - how large part of the total line the head curl constitutes. To avoid this problem I make some comments on the tail end and possibly the beginning. The characters are described here: From left towards right St.Paul, St.John, St.Cecilia, St.Augustine and Mary Magdalene. I assume three 'step' formations - with the 5-step with head at St.Augustine (2nd from right) and tail along the hand of St.Paul holding the sword with tail down along that, the 1-step formation snake mirrored with head at St.John and tail falling down along the similar vertical formation at Mary Magdalene, and the 3-step in heaven above and tail down along St.Cecilia: This SNAKE form is therefore situated considerably much higher on the canvas than the 1- and 5-step - and it is here taken that its tail ends on the organ held in the hands of St.Cecilia. The 5 persons do perhaps correlate with 5 diferent forms of step-formations but I do not discuss these here. I make only some scattered observations. Image quotes are from this source.
The 5-step series with tail along the lefthand character:
Element 9 = the area around the hand holding something (folded parchment?) near the sword:
(t)llitsmaInoomehtnoputsebeh(t)
(t)llitsma Inoo mehtno putsebeh(t)
it's my in-out-metal of puts behind
Clearly this lends explanatory value to e.g. the folded parchment that is 'put behind' in the palm, and the curly propellar-shaped hand grip protection on the sword tells of the in-out-metal.
See the discussion of the 'frog' in Bach 4 'Allegro': I cannot decide where the 'Frosch' is in Midori's recording but I would believe it seems to be around 0, 3, 5, 7 and 9 - at least every second of these. This is the 'Frosch' (the hand end of the violin bow) which corresponds to the lefthand character in Rafael's work - who holds the 'Frosch' of the sword and 'something' stuck behind his hand. This could be about what in the following poem is called 'substance of the new substance/substans' - here the probably ex nihilo character of the mystery object from the beach of Rekvika.
Element 11 = the bird-face peeping out behind the folds, its beak towards the near and similar 'button' on the woman's clothes:
mrøGhcilesinAhciname
Mr.Ugly-reading-of-the-name
mrøGhcilesinAhciname
Murk-cilia in nazi name
SantaCe-cilia
Element 16 = the possibly new neck of the violin across the triangle with the tambourine next to them - here the violine is understood as guitar or v-uitar:
(t)oNevitarrantahtnitubereh(t)
the new guitar and triangle and tambourine
The 3-step series with tail along the mid character:
Element 16 = the lyre-form hand organ which in the present story seems to encode 'Apollo's lyre' found on the beach of Rekvika in Troms of Norway. The present Rafael work is the evidence that this Apollo's lyre is a true piece of ex nihilo: I sent (probably the autumn 2017) my "Stillhetens åndedrag" to Chomsky and in april 2021 the news appeared of this 'mystic object'. The explanation is in this element 16 of the 3-step SNAKE which reads
(f) ni gniks am redr ob no itoci(f)
funny tricks: I'm reader of no intension/intuition
which thereby could serve to tell of Chomsky's reading of my book with its peculiar form: Indeed the form of the book resembles quite a lot the form of the mystery object. It is Rafael's central object in this artwork - and it is likely to be the story of the 'Apollo-Jes[es]' of Norway - the Apollo program of USA since the 1960's. This proof by Rafael also tells that the 1823 km from Reykjavik and the nearby Geldingadalur volcano (erupting on 19 march 2021) is not made by intrigue. This seems to remove all doubt.
It is the last line in TEQ #1581 - the poem of the beginning of Bach 4 'Allegro' - the line "in the time, in the name" - which lends yet some explanatory force to this account - since 'Chomsky' is quite close to 'Tromsø': Rekvika is a coastal area not far from this northern university town.
Nono part 1 is exactly 18:23 long - and Nono part 2 (duration 19:34) has its 18:23 on poem 15 = 'Finch' - cp. the last poem in TEQ book 1 - whereby the 'Rieflin tower' could be the background buildings in Rafael's artwork.
Element 15 = the drawings on the clothes of St.Cecilia resemble the flower decorations on the dress of the Madonna of Guadalupe
(r)evocsid ot saw gniht layor eht dna liame taht (r)
revokes a doubt, saw knit layer at the nail: I'm a doubt/daughter
The form just above the 'lyre' organ looks like a heart with blood vessels amputated - sharing heartform with that mystic object on the beach of Rekvika. The (r)evoked doubt from the reading of the book - you can see some edges from the scissoring of the text, such as "to svarte fugler som sammen / løsning enn dette stønnende komp" = "two black birds that together / solution than this groaning accompaniment" at about 03:23 in poem 53 in Nono part 2 - a 'cutting' which can be heard in the music as well. It is this 'cutting edge' which is the object of study of my master degree thesis from 1992 (such as the density function for finding the segmentation - could be also as the border between 'organs' - see the organ in the hands of St.Cecilia - how a few pipes are out of order).
Element 14 = a little further up, more drawings - more about the heart or thumos/breast region with 'cutting' of the organic unities like the 'cutting' in the poem's semantic flow:
(g)sid tub eno thgir eht sh ainaznat morf si eh fi sih desiu(g)
sid (in) tub and not girl shiner is not morf: see physic the suck
Element 13 = the knot on Santa Cecilia's girdle
(c)sid htiw oga ruoh na flah a sti ew wonk ew noissu(c)
see the to(bo)ga round and plastic we wont cue noise/nosuck
The toboggan is from the time before the invention of the wheel - the wheel is round as the girdle around the waist, which thereby explains how the wheel can move the body forwards without the need for 'cuttings'
Hence the new level of information technology which this discovery entails means that the need for school shootings and similar 'cuttings' will no longer be the same.
Element 12 = the emblem of a king-/knigdom?
(t) no deneppah ti erofeb rednukes erif ollah yad eh(t)
no depression the eurofever and nukes are apollo-yad dirt/duty
(e)ih lam hcon r(e)
he lamb icon-re
= St.John is the evangeliste of the 1879 revelation of Knock in Ireland (detail here) - he is here conceived as the lamb-icon on the altar behind (in Rafael the houses in the background?), could be a theory on the relation between the lamb and the evangelist, or more specifically the cross behind the lamb - this identification is likely to be about St.Cecilia's imaginations which could extend to the next
bel llips ognik eht se
bell lips of Knock at see
Bell lips of the knigdom? The lips are singing in heaven? Or the bell lips surrounded by curly hairs?
aretil yloh dna meht tnes era ohw eulb sti / erut
artery load name at tessera of wolbsti a route
= concerns of the attempt on the pope on Fatima day = 'aortima' day? = the artery functions again - cp. the illustration at St.Cecilia's breasts - how the artery is re-attached after the 'cutting'. Could be this fragment could be suggestive of other ways of recognizing the hieroglyphic 'snakes' in this artwork.
This is the book of St.John in Knock?
Could be Rafael was of such dimensions that state power got nervous that a Shakespeare could pop up out of control and therefore they sent an agent after Rafael? Politics should not let this mistake happen again.
It must be understood that this is about the SNAKE in christendom - the sneaking feeling that a semiotic snake is hiding in the innermost parts of the christian creed - and hence the strange obsession with trying to get it out.
The new level of information technology is not about getting the snake out but about seeing that it is a semiotic interface which must be understood.
Conclusion
The artwork of Rafael ('The Ecstasy of Santa Cecilia') confirms both the authenticity of the mystery object in Rekvika as well as my theory on the relation between my 'The Endmorgan Quartet' (1997-2008) and the ancient egyptian hieroglyphs.
6/7-2023: A study of TEQ #1455 relative to the artwork ('The Ecstasy of Santa Cecilia') shows that each character on the artwork can be associated with 2 lines of the poem - St.Paul is 'ex-act-ly', Mary Magdalene 'I see you' etc. This is for the SNAKE hieroglyph. If, though, one should feel bothered by the uneasy feelings in seeing a snake hiding in this artwork on the characters of holy status in catholicism, one could try and escape this uneasy feeling by recognizing the scene in it not as telling of the snake but on the contrary of the REED SHELTER IN FIELDS in TEQ #1473: This poem consists of fives stanzas which can be assigned comparably to each of the five characters in the artwork. It is seen how this will be TURNING the mood and understanding of the 5 characters into a quite different type - and one recognizes the modern problem with an 'intelligence liga' reading style - even the apparently unhappy misunderstanding of such 'liga reading' in seeking refuge from this feeling in the quasi 'arbitrarity' of TERNING = 'dice' of, say, a Black Sea Loop moving like a snake across the map and selecting people for the dread by arbitrary selection can be seen in this association - and this 'terning' = 'dice' is anglophonically understood as the same as the 'turning' away from that dreadful snake - when the victim selected 'arbitrarily' for the dread is replaced with a copy who then serves as the concept of the 'transubstantiated' person. The 5 characters on Rafael's artwork suddenly appear somewhat more unsympathetic - BUT it rescues the spectator from that feeling of a SNAKE hiding in the holy nature of the defining characters and heavenly-oriented spirit. Is this even the problem of protestant text-orientation - that it provides a READ SHELTER in FEELingS? It is norw. 'sangen' = 'the song' (by breathing) in heaven above which is the ecstatic rapture of St.Cecilia, not the broken musical instruments on the ground. Norw. 'slangen' = 'the snake'. I recall my school teacher Jan-Roger Ulfeng (he was the main teacher for the class) in 1970-71 telling the class about a worm that (in faraway countries, I think he said) with its considerable length could develop in people's organism and travel through blood vessels - a man had been observed in a hospital waiting room who suffered from this disease and who pulled a long worm of that type out through his mouth from his lungs where it had broken out of the blood vessels. This story could have been told around the time when a 'dritte Reich' could have been installed via my person, could be by a concept of a 'nazi madonna': Could be the nazis hoped that this SNAKE could be taken when it was conceived as the 'transubstantiated' respiration ('breathing') of that man in the 'silence' of the hospital waiting room environments. (Would this 'snake formation' even have been the background of the formation of Norway in 1814?) The dogma of 'transubstantiation' (in the throat) of the bread of the holy communion is often considered the main difference between catholicism and protestantism.
It can be noticed that this apparent swap of SNAKE with REED SHELTER IN FIELDS could have been a mistaken interpretation of the LOGICAL ORDER which function 15 probably is about. Logical order and semantic assignment (function 14) are rubbing against each other like the tectonic plates which also could be spotted in TEQ #1455. My fundamental theorem of logic is an attempt to bridge across the opposition in even the last logical operator NEGATION - for a new logic without such principled 'conflicts'. The 'prophetic' articulations of The Endmorgan Quartet could be considered a form of unary notation - they articulate in the mind when they transcend human history. That is when the advanced computers could come to develop a sense of TRUTH based on the difference between spotting into cosmic eternity vs the confinement of historic time. Is there something called 'the upper limit of computation'? If that computer be constructed and if the components of it approach molecular size, it is not impossible that the final optimal design of it will look like a human brain. That is when computer science will be a branch of the medical science - a part of the description of the human organism and how that determines our ideas of the semiotic constitution of the human reality.
But is there really a SNAKE in this christian semiotic interface? Rafael's Mary Magdalene looks out of the artwork towards the spectator where my corresponding line of TEQ #1455 tells: "I see you it's too late" - while the following line will apply to St.Paul on the lefthand side - as he is looking down, studying the musical instruments on the ground - hence a 90 degree's turning of the vision - as if St.Paul's sudden interest in the earthen instruments were the same as the appearance of the SNAKE. Hence one could speculate on a philosophy wherein the SNAKE takes form in the moment when the semiotic interface recognizes by way of the visual modality - and hence the SNAKE appears in the semiotics in the moment when the vision applies. This could dissolve the logical opposition to REED SHELTER IN FIELDS - as in my fundamental theorem of logic.
© John Bjarne Grover
On the web 4 july 2023
Last updated 6 july 2023
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